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Book. 



C&ssasm VEPQsxti. 



The Convention of the Muses 



A CLASSICAL PLAT FOR PARLOR AND SCHOOL 



FOR NINE FEMALES 



By ELLA SKINNER BATES 

li 



mri 



PRICE 15 CENTS I 



NEW YORK 

EDGAR S. W^ERNER 

1 801 
Copyright, 1891, by Edgar S. Wernkb 



Musicaliy Accompanied Re cHations ! 

The Reader does not Sing but recites the Piece in the Usual Way, while another Person 
Plays the Accompaniment on Piano or Organ, thus Lending the Power of Music to the 
Reader's Voice in Bringing Out the Effects of the Recitation. 

MAILING PRICE. 

AUX ITAIilENS. Poem by Owen Meredith. Music by G. Verdi. As arranged and 
recited by Mr. Charles Roberts, Jr. This poem is too well known to need descrip- 
tion. With this musical accompaniment it is doubly effective $0.60 

THE liAST HYMN. Poem by Marianne Farningham. Music by P. Giorza. Story 
of a shipwreck near the shore. A man is seen clinging on a spar, without hope of 
rescue. The people hear him sing "Jesus, lover of my soul." The reader that can 
sing this simple, familiar hymn will have a most powerful and pathetic piece 50 

THE SHADOW OF A SONG. Poem by Campbell Rae-Brown. Music by Edgar 
S. Place. Story of a girl who sings to her dead, blind, twin brother whom she had 
tended with marvelous affection. Her lover overhearing her sing, suspects her of 
communing with a dead love and accuses her. She is so wounded by his suspicion 
that she leaves him forever, saying as she goes, that she will sing the song again 
iust before she dies. A year afterward, the lover, who is alone and disconsolate, 
tears the song, and realizes that she (who is unseen) is dying. Introduces a song. 
Both the singer and the piano are invisible. This is the greatest reading of the 
year, and, with proper rendering, produces wonderful effect upon an audience 50 

THE TRAGEDY. Poem by T. B. Aldrich. Music arranged by P. Giorza from La 
Traviata. The poet, while witnessing the play. La Dame aux Camelias, recog- 
nizes in the audience a girl whom he had known years ago, and who has fallen into 
sin. He muses that the real tragedy that night was this woman who played despair. .50 

THE BENEDICTION. Poem by Frangois Copp6e. Music by Edgar S. Place. 
This, as is well known, is a story of the siege of Saragossa, where the troops shot 
down a lot of monks, finally shooting an old priest at the altar who was in the act 
of giving the benediction. Very dramatic, and one of the chief pieces in the 
repertoire of Prof. J. W. Churchill and Mr. Charles Roberts, Jr 70 

HOW WE KEPT THE DAY. Poem by Will Carleton. Music by W. E. G. Evans. 
This is a humorous account of a country Fourth of July celebration, introducing 
the various national airs and other tunes usually played on such occasions 75 

THE UNCL.E, as recited by Henry Irving. Poem by H. G. Bell. Music composed 
by Sir Julius Benedict, expressly for Mr. Irving. Very dramatic story of two 
brothers who loved the same woman. The unsuccessful suitor murders his brother 
by locking him in a chest. Years afterward the murderer, in a fit of remorse, tells 
the story to his nephew, and dies 60 

THE STORY OF SOME BEL,L,S. Music by Edgar S. Place. Story of an artisan 
who, having cast a tuneful chime that was carried off in war, became disconsolate 
and wandered for years through foreign lands in search of his bells. At last he 
finds them, and as they play " Home, Sweet Home," he dies. Very appropriate 
for young ladies a. .50 

KING ROBERT OF SICILY. \Poem by Longfellow. This great poem is too well 
known to need description. Every one who recites it should have this musical ac- 
companiment, which adds greatly to its rendition 1 50 

COUNTRY SLEIGHING. Poem by E. C. Stedman. Charming, semi-humorous 
description of an old-fashioned country sleigh-ride. Light and frolicsome, with 
splendid opportunity for by-play 50 

MUSIC ON THE RAPPAHANNOCK. Poem by C. C. Somerville. Story of 
Northern and Southern armies encamped on the banks of the river, so near that 
each can hear the other's band. When one army plays a war-tune, the other army 
responds with its war-tune, imtil. finally, one side plays "Home, Sweet Home," 
which so touches the other side that it joins in, and for the time being the North 
and the South are one. Appropriate for G. A. R. meetings, etc 50 

I DREAM. Poem by Rev. Dwight Williams. The happiness and beauty of the here- 
after as foreshadowed in a dream. Suitable for Sunday-school and church enter- 
tainments, as well as for other occasions 50 

THE FUGITIVES. Poem by Shelley. Music by Robert Schumann. Story of 

runaway lovers, who are cursed by her father, and who are exposed to a storm. .40 

Sent on receipt of price. Address the publisher, 

EDaAB S. WEHNEE, 23 West 23d St.. New York. 






A CONVENTION OF THE MUSES 

By Ella Ski:n^:n"er Bates. 



DRAMATIS PERSONS : 

Calliope (or Calypso), Epic Poetry. 

Euterpe, Lyric Poetry. 

Erato, Love. 

lyiELPOMENE, Tragedy. 

Thalia, Comedy. 

Polyhymnia, Sacred Poetry. 

Terpsichore, Choral Song and Dance. 

Urania, . Astronomy, 

Clio, History. 

Olio, as the Muse of History, calls the meeting, and invites each 
member to make a report of the condition of affairs in her special 
department. 

Each character should be dressed appropriately in simple Greek 
costume, sandals upon the feet, hair a la Grec, with a laurel 
wreath, or wreath of flowers, or other band W a fillet, just above the 
brows, and each should hold the symbols indicating her office. It 
is better that the costumes should be of different colors, and in ex- 
tremely light shades. 

Melpomene may wear black, or a white dress with a black 
Greek border, or a white dress and b]^ck mantle draped gracefully. 
She may hold in her hand the traditional tragic mask. 

Thalia may choose any color she wishes, and have in her hand, 
or hung about her person, the traditional comic mask. 

Clio must have a scroll and a stylus, or pen. Her dress should 
be white, with a gilt border of Greek fret. 

Urania should wear blue, as typical of the sky, with the cus- 
tomary globe in her hand ; the effect is heightened by a fillet of 



2 A CONVENTION OF THE MUSES. 

stars, or a crescent in the hair, or a band of stars about the waist 
as a girdle. 

Euterpe should have hanging upon her arm a broken lyre. 

Terpsichore should have a harp or lute. 

Polyhymnia, a scroll. 

Calliope, also a scroll. 

Erato may have some tiny darts fastened in her hair and dress 
as the representative of Love. 

The stage should be arranged with a small platform raised to 
the height of two low steps, a little left of centre. Upon the plat- 
form should stand a chair with a crescent back, the horns of the 
crescent turning upward, so that they may be used as supports for 
the arms in sitting. This chair is for Clio, who, as the presiding 
deity, must have the most prominent position. 

About the stage, and close to the platform, should be scattered 
low stools, and, further off, some other chairs, corresponding to 
the one upon the platform. 

Clio enters (right hack) followed by the others. 

She crosses stage to centre, and, turning, speaks : 

Clio. I have convened you, sisters, for the time 
Approaches when the state of earthly things 
Demands a faithful, just and full report. 
Let us sit down and each one, then, shall speak 
Of her experience since last we met. 
[She pomts to the seats, and is ahout to ascend the platform, 
has one foot upon the first step, when PoLYHyMN"iA 'breaks 
in.'\ 

PoLYHYMKiA. But, first, dear Clio, as of old our wont. 
Sing we the hymn to that all powerful Jove, 
Who, king of gods and men, demands our zeal. 
Our worship and our love in all his works. 

[She opens her scroll and takes her place next to Clio, ivho turns 
upon the first step and remains, thus, a little above the rest, 



A CONVENTION OF THE MUSES. 



who grotip themselves about her, four on either side, in a 
slight curve.'] 

yiliey sing with appropriate movernents.'] 



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Great Jove hear us: We thy lov-ing chil-dren Of - fer 

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Grant us now Thy bless-ing— Father all pow'r-ful Ze-ns our King. 

[After the singing, Clio seats herself. Melpomene takes her 
position, standiiig at Clio's left on the platform, and slightly 
hack. The others should seat themselves inf graceful attitudes 
either upon the stools or upon the steps of the platform,] 

Pol. [who is not seated]. 0\\, Clio mine, the world knows not 
our gods ; 
The hymns we sing are banished all. ^Tis true 
Those evil spirits we were wont to shun 
Still show their faces, hideous as of old ; 
But all the fair, sweet mysteries of our faith 
Men laugh at, worshiping one only God. [Seats herself] 

Calliope [rising impetuously]. And, sister, all my work lies 
in the past. 
The age of hero-worship is quite dead. 
True, there are heroes now, but none to sing. 
It seems all men are heroes in this age, 
And each one worships at his own great shrine. 
No genius find I in whose breast the spark 
Which may be kindled into mighty song. 



A CONVENTION OF THE MUSES. 

Euterpe. Yes, all the good old days are gone indeed. 
And in this scientific age men have 
No time to waste in anything but work. 
Ah, me ! to guide again the minstrel's song. 
And fill his strain with music — passing sweet — 
From those light strings he touched upon his harp. 
See, all my strings are broken from disuse ; 
I may not speak, save without music now. 

Erato. Ah, sister, olden times were yours indeed ; 
But mine are all — past, present, and to be. 
All men acknowledge me the deathless one. 
Because love is undying, and my song 
Shows love triumphant o^'er all earthly things ; 
And men become changed by my magic spell, 
Immortal as the gods, and ever young. 

Melpomei^e [slowly and impressively]. And following in thy 
wake, Erato, comes 
A train of ills which blots the sun in heaven ; 
Fills earth with sorrow, for men die of love. 
And women break their hearts before they die. 
Erato, thy sweet poison deadly is. 
My own heart almost breaks to think of it. 

Thalia [springing up and rushing to thefronf\. Come, sisters, 
this is all too sad indeed ; 
Much that is brightest comes of love 
And love well sung, as by our sister here. 
My sides ache oft with laughing as I watch 
The strange manoeuvres of these earthly fools. 
Who, feeling once Love's dart, grow straight bewitched. 
And th^n I search for some poetic soul 
Who also sees this universal — woe. 
And such strange scenes of mirth he conjureth 



A CONVENTION OF THE MUSES. 5 

From all these groans and sighs of dolorous men, 

That all the world laughs. Then this same man 

Becomes a victim in the common cause 

And dies on his own sword. I always find 

So much of brightness in this merry world, 

There's no time left to weep. And of what use 

To spend the hours in sighing ? 'Twill but make 

Them long and tedious, when they should be brigth and 

lightsome. 
Why sit in darkness when one may be glad ? 

Terpsichore. Eight glad am I to hear thy merry voice 
After the wailing of our sisters here. 
Our task it is to lighten the world's grief. 
And bring the primal sunshine back again. 
For men, and women, too, have grown so strange, 
Why, ev'n their forms are changed. The women all 
Have hour-glass waists — and humps, where none there were; 
And then they move in angles, not in curves. 
The men [mimicking] just so ; the women — worse than all ! 
And when I try to breathe my airy soul 
Into their bodies, and inspire the old. 
Sweet measures of the mazy dance. 
Fit subjects they become for Nestor's laugh. 
Ah, sister [to Erato], 'tis not love alone that rules. 
But vagrant fancies of a vagrant age. 
Which even you and I cannot quite change. 
I feel my own limbs growing almost stiff, 
So great the influence of this fashion dame 
Who leaves me naught to do in all the world. 

Uran"IA. Dear sisters, think you there is but this earth 
On which to work ? Why, since the olden time, 
I have been traveling to distant worlds, 
Which, with this ball, revolve around the sun ; 



A CONVENTION OF THE MUSES. 

And farther still, to other grander suns. 

Which, with their satellites, are stretched in space. 

All moving, round and round, and on and on, 

Each bound to each by some strange, mystic force 

We name, indeed, yet know not what it is. 

The whole great universe bound by one law. 

And moving steadily — by other laws — 

To greater ends than thou hast even dreamed. 

Clio [risi7ig]. Come, worthy sisters, keep your hearts in peace. 
You speak the history of a world's great life ; 
First, small beginnings of the infant mind ; 
Then sad vagaries of the youth's estate ; 
It stands just here, where we may feel the hope 
Of better, truer things. I look on all. 
Not one thing in itself, but all in one. 
Makes up the history of a perfect life ; 
So with the world's. Its grander purpose lies 
As yet quite unfulfilled. Then to thy work. 
Thy natures, too, must change to meet the need 
Of this fast-growing world, whose tendency 
Is onward, upward, to the throne of God. 
Thalia and Melpomene, [joining the hands of Thalia 

a}id Melpomen^e] go hand in hand, 
For joys and sorrow mingle in the world. 
And thus thy [to Melpomei^e] heavy heart will lighter grow. 
And tliine [to Thalia] more tender toward all human woe. 

Thal. Thou shouldst have joined her to Erato here; 
'Tis said that Tragedy e'er follows Love. 
But nothing fear, I'll make her even smile. 
Who knows but laugh, before we meet again. 

Mel. Yes, Tragedy wears oft a smiling face ; 
'Tis but the mask to hide what lies behind. 



A CONVENTION OF THE MUSES. 7 

That mask is Comedy's — the outside hers. 
Thy kingdom lies within and holds the heart. 

[They step hack to their places.^ 

Clio. Calliope, Euterpe, spare thy sighs. 

Much yet remains to sing ; and though thy lyre 
Is broken, music still enchains the world, 
And still entreats thy skill and sympathy. 

[To Calliope.] Look thou for heroes of a different mold; 
For there are many grand as those of old. 

Oal. But poets, Clio, they are born, not made. 
The gem of song kindled by mighty Jove 
I still must find, or else my work is vain. 

€lio. Poets to suit the world's need thou wilt find. 
The spirit of the age inspires their pen. 
And that must guide thee also in thy work. 

Euterpe [hopefully, trying to mend her broken strings\. I'll 
mend my strings ; perchance they'll sound again. 

Olio. Yes, they will sing in sweeter strains to men. 
Erato, Polyhymnia, go thou forth. 
Thou [to Erato] singing of the human earthly love. 
And thou [to Polyhymi^ia] of heavenly; joining so the two 
Shall love be consecrated to high ends. 
And purer, tenderer, diviner grow. 

Pol. The old faith, Clio, must it die indeed ? 
Is there no truth in all we once believed ? 
Is Jove a myth ? Then what, indeed, are we ? 

Clio, The ministers of Truth ; those who must work 
Eor that and all its ends, no matter what. 



8 A CONVENTION OF THE MUSES. 

The spirits sent by Him who rules above, 

(That greater One than Jove) to do His work — . 

Not hinder it — in all the universe. 

Thou merry Terpsichore, go thy ways, 

And still enliven earth with dance and song ; 

But keep the spirit pure, thy heart as light, 

And thou'lt yet compass something in the world. 

Urania, mine, who holdst the heavy key 

To mysteries undreamed, go also forth ; 

The world waits hungry for the coming truth. 

I wait to give thy knowledge to the world. 

Not what I would, but what I must, I write ; 

The Muse of History but holds the pen. 

Which you, my sisters all, must guide aright. 

Tableau. — All bow heads and stand before her, Clio holding 
her tablets in left hand, the pen in right, pointing to them as if 
about to write. 

Then all sing the same air as before, kneeling, and with ap- 
propriate gestures : 

Great spirit, hear us. Keep our eyes uplifted 

Thou above who reignest. Ever to the highest. 

Kneel we now before thee. Father, all merciful. 

Humble in heart. Whom we adore. 




THIRD EDITION. 



DELSllRTE SYSTEM OF ORATORY. 

CONTAINING THK UNABRIDOBD WORKS OF 

M. I'Abbe Delanmosne and Mme. ADgeliqne Amand 

"(pupils of dklsartb), and the 

LITERMY REMAINS OF FRANCOIS DELSARTE. 



with THK FAMOUS 



'dp of Anger and "Chart of Ilan." 

Printed in Colors as Drawn by Deisarte. 



These writings, now given to the public for the first time, were lately purchased of Mme- 
DELSARTE, with the understanding that they were all the manuscripts left by her illustri- 
ous husband. They are published in the same condition DELSARTE left them iu, thereby 
affording the best means of becoming acquainted with the thoughts and methods of the 
unparalleled master of the science and the art of expression. In them is found THE GEN- 
UINE DELSARTE SYSTEM unmixed with the views and purposes of other persons, but 
presented just as the master expounded it. 

AN EXTRACT FROM DELSARTE'S LAST LETTER TO THE KING OF HANOVER 
IS A FITTING PREFACE: 
"I am at this moment meditating a book, singular for more than one reason, whose 
form will be no less novel than its contents. The title is, ' The History of an Idea Pursued 
for Forty Years.' It will be my task to connect, and condense into a single narrative, all the 
circumstances of my life, which had as logical consequences the numerous discoveries which 
it has been granted me to follow up. I know not what fate is reserved for this book, but, 
however it may be, I crave, sire, your majesty's permission to offer the d^ication to you." 



A BOOK OK NEARLY 600 PAQKS, 

of Great Value to all Delsarteans, Teachers of Elocution, Public Speakers, Singers, 

Actors, Sculptors, Painters, Psychologists, Theologians, Scholars in 

any Department of Science, Art, and Thought 

Many Charts, Diagrams, Cuts, etc. Teacher's price, Sa.SO net. NOT FOR SALE AT 
BOuk-STORES. Send draft on New York, postal order or registered letter direct to the 
publisher, 

EDGAR S. WERNER, 

28 West 23d Street, NEW YOBK. 



A DELSARTE PRIMER. 

^ooietg (^mna^tiDg and Voice-diiltoe, 

ABAFTED FROM THB 

DELSARTE SYSTEM. 

Specially for Class Use. 

Regular Lessons, with Questions for Pupils to Answer and Portions 
of the Text to be Memorized. 

MUSIC TO ACCOMPANY THE MOVEMENTS. 



By OENKVIKVK SXKBBINS. 

The au thorns exhaustive studies and long experience as a Belsarte 
teacher in fashionable young ladies' schools, pre-eminently qualify her 
to prepare a work on gymnastics and voice-cultu»e according to the 
system of Francois Delsarte for 

M Schools of All Grades. ¥>- 

The distinguishing characteristic of the Delsarte gynmastics is that 
thof have an aesthetic intent and effect, harmoniously developing the 
entire man and not, as do the ordinary and old-time gymnastics, develop 
the physical at the expense of the mental, and also resulting in dispro- 
portionate growth and in angularity instead of grace. They have been 
developed from studies of the Greek marbles, and are designed to cul- 
tivate in individuals what Winkelmann styles ' ' the repose in action " of 
great statues. They give reserve force, habitual grace of movement and 
sweetness of voice, so essential to all who move in good society. They 
correct awkwardness or stiffness, whether proceeding from self -conscious- 
ness or timidity, and eliminate disagreeable qualities from the speaking- 
voice, such as nasality, harshness or shrillness of any kind. 



Cloth, Teachers' net price, $1 ; by Mail, $1 ,08. 



Address the Publisher, 

EDGAR S. WERNER, 28 West 23d Street, New York. 



Center's 

Readings and Recitations. 

No. 1. 

E^NGIvISH CLASSICS. 

Compiled and Arranged by Sara Sigourney Rick. 



CONTENTS. 



AdOlphnS, Dnke of GnelderS. Owen Mere- 
dith. 

Adrentnre, An. Amelia B. Edwards. 

Amy Bobsart and Lord Leicester at Kenil. 
worth, Interview Between. Scott. 

Armada, The. Macaulay. 

Aylmer's Field. Alfred Tennyson. 

Beggar's Daughter of Bednall Green, The. 
Percy Reliques. 

Bnildingof the House, The. Chas. Mackay. 

Charlotte Corday. Thomas Carlyle. 

Church of Brou, The. Matthew Arnold. 

Constance de Beverly. Walter Scott. 

Count Albert and Fair Rosalie. Scott. 

Death of Roland, The. Robert Buchanan. 

Death of Mary Stuart, The. James An- 
thony Froude. 

Donald and the Stag. Robert Browning. 

Duchess May. Elizabeth B. Browning. 

Echo and the Ferry. Jean Ingelow. 

Elaine. Alfred Tennyson. 

Enid. Alfred Tennyson. 

Flo«d on the Floss, The. George Eliot, 

Golden City, The. Frederick Tennyson. 

Golden Supper, The. Alfred Tennyson. 

Guinevere. Alfred Tennyson. 

Heart of Bruce, The. William E. Aytoun. 

Hugh Sutherland's Pansies. R. Buchanan. 

Ivan Ivanovitch. Robert Browning. 

King and the Nightingales, The. Charles 

Mackay. 
King John and the Abbot of Canterbury. 
King Sheddad's Paradise. Edwin Arnold. 
Lady in Comus, The. John Milton. 
Legend of St. Christopher, The. Mary 
Fletcher. 



Little Bine Ribbons. 

Little Grand Lama, The. Thomas Moorb,. 

Lurline ; or. The Knight's TIsit to the Mer- 
maids. Richard H. Barham. 

Marie Antoinette. Thomas Carlyle, 

May-pole, The. 

Miss Pinkerton's Academy for Young La» 
dies. W. M. Thackeray. 

Mohammed. Owen Meredith. 

Mrs. Leo Hunter. Charles Dickens. 

Old Sedan Chair, The. Austin Dobson. 

Old Slave's Lament, The. 

Origin of Roast Pig, The. Charles Lam»^ 

Owd Boa. Alfred Tennyson. 

Parrot and the Cuckoo, The. 

Peacock on the Wall, The. 

Pedler and His Trumpet, The. Thomas 
Hood. 

Pheidippides. Robert Browning. 

Plain Direction, A. 

Revels of the Caesars, The. Amelia B. Eik 

WARDS. 

Saint Elizabeth. Charles Kingsley. 
Shakespeare's Dream. Arranged by Sara S. 

Rice. 
Snow Storm, The. R. D, Blackmore. 
Streets of London, The. Owen Meredith. 
Sultan and the Potter, The. Edwin Arnold. 
Swanage Bay, In. Dinah Mulock Craik. 
Turtles, The. Thomas Hood, 
Veronica. Dinah Mulock Craik. 
Yisiou of Poets, A. Elizabeth Barrett 

Browning. 
Vivien. Alfred Tennyson. 
White Ship, The. Dante G. Rosetti. 
Witches' Frolic, The. Richard H. Barham. 



Price, 35 cents, postpaid ; cloth, 60 cents, postpaid ; cloth, extra paper^ 
gilt lettering, $1.00, postpaid ; with the usual teacher's discount. 

LIBERAL REDUCTION WHEN ORDERED IN QUANTITIES. 



Address the Publisher, 

EDGAR S. WERNER, 

28 "West 23d St., - - Ne-w York. 



THIRTY ELOCUTION I.ESSONS FOR S1.25. 



Original Recitations with Lesson-Talks. 

These Selections were Written Especially for Recitation, and afiford I^cellent 
Opportxinities for Poses, Bird-Tones and other Vocal Effects. 

The pupil is not bothered -vrith arbitrary niles, but is taught in few and plain words the 

essential points of the piece he is learning, bo that every recitation with its 

lesson-talk is a most valuable lesson in elocution. 



AUNT RHODY'S DREAM.— Yankee dialect 
story of an old woman who, having had a 
theological controversy with a deacon, 
dreams that she goes to heaven and finds 
that the various sects are simply doors 
that all open into the same heaven. Cos- 
tume piece. 

MONEY MUSK.— Poem by Bayard Taylor. 
Lesson-Talk by Mrs. Banks.— Humorous ac- 
count of a country dance, affording oppor- 
tunity for dance-steps. Music given. 

THE MOTHER^S EASTER SCARF.— Story 
of twins, one of whom loses his arm in sav- 
ing the other from a mad dog. Both after- 
ward fall in love with the same girl, when 
the one-armed one kills the other— at least 
he thinks so— but he wakes up to find it a 
dream, and yields the girl to his brother. 

A QUART OF MILK.— Dutch dialect story 
of a deaf old woman who hails a milkman, 
and he, mistaking her ear-trumpet for a 
milk-can, pours the milk in it. Humorous. 

VAN BIBBER'S ROCK.— A man pursued 
by Indians jumps from a high rock into 
the water, and is rescued by his wife. 

ALINE'S LOVE SONG.— A courting scene, 
introducing singing ; music given. Co- 
quettish, and specially suitable for encores. 

PRINCE ERIC'S CHRIST-MAID.— Eric of- 
fers his hand to her who sends the fairest 
lilies on Easter Day. Knowing the skill of 
Lady Constance, he is sure of her success. 
A plot results in her supposed death, and 
she. covered with lilies, is about to be 
buried, but is i-estored to life. 

EUTHIE'S FAITH IN PRAYER.— A little 
girl buries her doll, and prays for another 
one and gets it. Suitable to be recited 
before children. 

■GRANDMA. ROBBINS'S TEMPERANCE 
MISSION.— A stirring temperance recita- 
tion, introducing a prayer. Grandma 
Robbins is a host in herself, and the char- 
acter of Charlie appeals to every one. 
Pathetic with a happy ending. 



A SQUEEZE IN THE DARK.— Humorous 
Irish dialect. Impersonation of both male 
and female voices. Coquettish, merry, 
and sure to please. 

FLOSSIE LANE'S MARRIAGE.— Story of 
runaway lovers who, pursued by her 
father, get maiTied on the train. 

THE SOLDIER'S JOY.— Recitation similar 
to " Money Musk." with music. Extremely 

f)opular ; introduces a girl first as a child, 
ater as the woman who becomes instead 
of the soldier's a husband's joy. 

A LEGEND OF ROSE SUNDAY.— A pastor 
supposing his aflB.anced to be dying in a 
distant place, is happily surprised on en- 
tering the church on Rose Sunday to find 
her there fully restored to health. 

FLYING JIM'S LAST LEAP.— A pursued 
criminal, who, in return for kindness she 
has shown him, rescues a little girl from a 
burning building and loses his life. 

BRIDGET'S MISSION JUG.— Irish dialect 
recitation, suited to missionary gatherings: 

DOT'S CHRISTMAS; OR THE SOBER 
HAT. — A Christmas temperance selection. 
Fine opportunity for characterization, and 
suitable for church, parlor or stage. 

LAUREAME: THE MARBLE DREAM.— 
A statue costume recitation on the stylo 
of " Pygmalion and Galatea," introducing 
music ; dramatic. 

ONE THANKSGIVING DAY OUT WEST.— 
Story of a young frontiersman, who, on 
returning home through the woods at 
night, is attacked by wolves. 

MEIN KATRINE'S BRUDDER HANS. — 
Humorous Dutch dialect. Very fimny 
story and situations. Suitable for gentle^ 
men. 

PRINCESS IMRA AND THE GOATHERD— 
Story of a prince, who, disguised as a goat 
herd, wins a princess. Has bell- tones. 



See next page for conclusion of this list. 



"Nicely printed and bound, 91.25, postpaid. Teachers' price 81.10, by mail. 

Address the publisher, 

EDGAB S. WJEKNEB, 29 West 23d St., New Ym^k. 



Elocutionary studies # New Recitations. 

By Mrs. ANNA RANDAL.L.-DrEHL., 

THE EMINENT TEACHER, READER, AND AUTHOR. 



A Common-Sense and Practical Method of Teaching Reading, Recita- 

tion, and Declamation. 

Selections Analyzed and Explained. Directions for Costuming. 

A Large Variety of Entirely New and Original Pieces Suitable for all 

Occasions. 



This book meets the wants of nearly every class. There are dramatic selections of 
the highest order for the professional and amateur reciter ; there are selections for all sorts 
and occasions,— the platform, drawing-room, Sunday-school, temperance meetings, labor 
meetings, reform clubs, anniversaries ; there are school declamations, and a few things for 
yery little children. 

It is more thaa a collection of new pieces, beingf a valuable class drill-book in 
■elocution, and is eminently suited for school- work. With its analysis of pieces, its hints and 
directions for reading, it is an indispensable vade-mecum to the student and the teacher 
of elocution. 

Flexible Cloth, 60 Cts.; Paper, 35 Cts., postpaid. 



Address the Publisher, EDGAR S. WERNER, 28 Wcst 23d St., New York. 



liist of EMMA DUNNING BANKS'S Recitations concluded 
from preceding page. 



A ROMAN VALENTINE.— A Roman maiden 
whose name is drawn on St. Valentine's 
Day by an objectionable suitor and by her 
real lover, the case being decided by the 
emperor giving her to the man that does 
the most vahant deed. The true lover 
wins. Can be given in Roman costume. 

DIAMOND CUT DIAMOND. -Disguised as a 
waiting-maid a society belle and heiress 
meets her lover, who is supposed to be an 
humble boatman. The well-known ballad 
"Twickenham Ferry" is introduced at 
intervals with fine effect. At the denoue- 
ment the disguises were rendered useless, 
each knowing the other's true character 
and station all the time. 

THE ELF-CHILD.— Poem by James Whit- 
comb Riley ; Lesson-Talk by Mrs. Banks. 
This most successful recitation is a good 
study for childish voice in characterization. 

THE PRIDE OF BATTERY B.— Poem by F. 
H. Gassaway, with Lesson-Talk by Mrs. 
Banks. In the civil war, a little girl picked 
up by the Confederates, hearing that they 
have no tobacco, steals through the lines 
to the Federals, who upon hearing her 
story load her with tobacco and send her 
safely back, 

i:mma dunning banks^s medley.— a 

coxmtry girl becomes a successful actress. 
Yankee, Dutch, Negro and Irish dialect, 
with a scene from "Leah the Forsaken " 
and from " London Assurance," witli bird- 
tones and bab7 cries. 



TWO THANKSGIVING DANCES.— Two 
lovers quarrel at a Thanksgiving ball and 
part. Ten yeatcs later they meet by 
chance at another Thanksgiving party and 
make up. On the style of ' ' Money Musk ' ' 
and "Soldier's Joy," introducing music 
and dance-caUs. Music given. 

A RUSSIAN CHRISTMAS.— Represents an 
ice-festival and the plot of a jealous lover, 
first to kill his rival on the ice and then to 
have him banished to Siberia on a charge 
of treason. Ends happily. 

THE OLD, OLD STORY.— Christmas recita- 
tion, telling the story of the birth of Christ. 
Not dramatic. Very suitable for Sunday- 
school entertainments. 

HOW CONGRESS FOUGHT FOR SHERI- 
DAN.— A dramatic poem, describing the 
scenes in Congress during the passage of 
the bill creating Sheridan General of the 
Army. Also describes scenes at Sheridan's 
bedside while he awaits the action of 
Congress, and the scene when his com- 
mission is given him. Appropriate for all 
patriotic occasions. 

THE SPINNING-WHEEL SONG.— Poem by 
John F. Waller; Lesson-Talk by Mrs. 
Banks, giving full directions for spinning 
effects, and introducing airs from "Robin 
Adair" and "Comin' thro' the Rye." 
Also opportunity for old woman imper- 
sonation. Story of a girl who spins her 
grandmother asleep, and then takes a 
stroll with her lover. 



^DELSMTE RECITATION BOOK^ 

Edited by ELSIE M. WILBOR, 

Assistant Editor of WERNER'S VOICE MAGAZINE. 



Something unique in Recitation Books. Original in 
design and unequalled in excellence. 



A NEW MEDALLION PORTRAIT OF DELSAETE, PREPARED SPECIALLY FOR THIS 
WORK, WITH HIS FAVORITE RECITATIONS. 



Plays, Monologues, JPieces with Music, Drills, Pieces introducing Singing,. 

Twenty-seven Photographs of Wantons Works of Art that are best 

adapted to Statue-Poses for Mntertainments, etc., etc. 



ORIGINAL ILLUSTRATIONS. 



A BIOGRAPHICAL SKETCH OF DELSARTE BY STEELE MAOKAYE. 



Every piece in the DELSARTE RECITATION BOOK has been chosen for its special fit- 
ness for Recitation. The editor and compiler, ELSIE M. WILBOR, from her long experi- 
ence as one of the editors of WERNER'S VOICE MAGAZINE (a journal devoted to oral 
language), is peculiarly fitted for the work, and she has performed her task well, collecting 
eighty-two recitations, in prose and poetry, ranging from simple, childish to the most dra- 
matic ones, the collection forming an exceptionally excellent all-round book — one In which 
dvery reader, no matter what his style may be, will find something suited to him. 

The book gets its name from several favorite pieces of Delsarte's, from an epigram on 
every page illustrating or stating some point in the Delsarte System, from a fine medallion 
portrait of Delsarte embossed on the cover, and from illustrations, pantomimes, and analy- 
ses according to Delsartean principles. 

Every piece has been either written, translated, arranged, or adapted specially for thfr 
book, which contains over 300 pages of recitation gems, not one but has its raison d'etre— 
its justifying reason for being inserted. On the covers and between them originality is 
stamped, making it safe to say that no such a recitation book has ever been issued, and that 
it marks an era in books of this class. 



Elegantly Bound, Price, $1,25, Postpaid, 

Addukss the Publisher, 

EDGAR S. WERNER, 

28 West 23d St., New York. 



